“梅齐合壁”与中国戏曲的技艺化倾向

齐如山一生致力于京剧舞台表演的舞蹈化实践与研究,这种舞蹈化在他与梅兰芳的合作中获得巨大成功,并于２０世纪３０年代在西方世界产生了巨大的影响。我们把他们的合作及其成功的现象称为“梅齐合壁”。这种合作以技艺化为重要的美学特征,它强化了戏曲的通俗化特征,但同时则以人文价值关注的弱化为代价。当中国观众对戏曲中的舞蹈化已经不再感到新鲜的时候,在西方文艺完成对写实主义的超越,实现艺术转型之后,中国戏曲的舞蹈化的世界效应便一落千丈。

Mei-Qi combination" and the artistry-oriented tendency of Chinese opera

Qi Rushan devoted his life to the practice and research in dance movement for Chinese opera performance and scored great success while in cooperation with MEI Lanfang, and this "MEI-QI combination exercised p-eat influences upon Western art during the thirties of the twentieth century. This combination, with artistry-oriented tendency as its important esthetic feature, strengthened the popularization of opera at the expense of a weakened attention to humanitarian spirtual value. At a time when the Chinese audience displayed no interest any longer in the dancing in Chinese opera, arid when Western culture completed changes in exceed of realism and implemented an art restructure, the worldwide effect of dance movement for Chinese opera performance suffered a sharp decline.